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THE DIMINISHMENT OF CHARLIE CAIN

An intriguing but emotionally shallow picaresque about an invisible man.

A man finds invisibility much better and much worse than he could ever have imagined in this literary novel.

Freelance writer Charlie Cain is suffering from a pain in his lower back. He’s reluctant to go to the doctor—both because he has no health insurance and because his girlfriend, Amber Dressing, recently left him for a physician—but the discomfort becomes more than he can bear. On the recommendation of an acquaintance, he sees a very unconventional medic who prescribes him a vial of drops, one to be taken under the tongue with each meal. Charlie starts right away, and, by the next day, the pain has started to disappear. Unfortunately, there is a pretty severe side effect: “It was then that he saw something anomalous about his hands and forearms. They were—almost transparent. They flickered like an old film and seemed lit by a lemony inner light. He shook one and it was flesh and then not-flesh, flesh and then not-flesh.” Charlie immediately starts enjoying his invisibility: running around naked, rooting through his friend’s house, spying on his attractive neighbor while she’s undressed. When he goes back to the doctor to figure out what happened, the office has closed, as if it were never there. Freshly uninhibited, Charlie embarks on a new life as a burglar, prankster, and voyeur. He becomes obsessed with an agoraphobic painter still mourning her dead husband and begins an affair with a New Age priestess who thinks he’s a god. But soon people will start to realize Charlie is missing. And it’s only a matter of time before he decides to use his new ability to try to win Amber back.

The novel is told with a fair bit of ironic distance—the characters have not-quite-real names like Sudie Nimm and Patience Spent—which keeps readers from asking too many questions about the how and why of things. Mesler’s imagery is often surprising, as here in his description of a man at a Neighborhood Watch meeting where Charlie’s crime spree is discussed (Charlie, of course, is present as well): “The police officer who attended was named Peter Natural. He was a large, Aryan fellow, as handsome as a coat of mail. His leather gleamed. His revolver looked as big as canned ham.” The author’s prose can also be a bit too cute, as here where he describes one of Charlie’s lovers’ nether regions: “Her furze bush was black as sloe and thick like a thicket.” It’s an unexpectedly raunchy tale. A startling number of women want to have sex with this unknown invisible man—even on a city bus—and Charlie is more than happy to comply. Disappointingly, the female characters are quite flat and primarily exist as objects of Charlie’s desire. Readers will be left wishing that the story had tried a bit harder to be about something more than male fantasies. Invisibility is a fertile and well-explored concept in fiction, yet Mesler doesn’t actually find much to say about it.

An intriguing but emotionally shallow picaresque about an invisible man.

Pub Date: May 25, 2021

ISBN: 978-1-60-489281-9

Page Count: 250

Publisher: Livingston Press

Review Posted Online: May 27, 2021

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THE CALAMITY CLUB

Fans of Stockett’s bestselling debut will love this engaging follow-up.

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Stockett heads to Mississippi for another historical novel about feisty women.

This time, perhaps recalling criticisms of cultural appropriation in The Help (2009), she sticks to feisty white women, with one exception. The setting is Oxford in 1933. For two miserable years, 11-year-old Meg has lived in “the Orphan,” a county asylum for parentless girls. Chairlady Garnett—a villain so one-note she’d twirl a mustache if she had one—makes it her mission to ostracize the older girls she deems unadoptable, stigmatizing them as offspring of the “feebleminded” mothers who abandoned them. She particularly has it in for smart, sassy Meg, who refuses to believe her mother’s mysterious disappearance was deliberate. Elsewhere in Oxford, Birdie Calhoun comes to visit her sister Frances, who married a wealthy banker, to ask for money on behalf of their mother and grandmother back in Footely. Frances isn’t thrilled by this reminder of her impoverished small-town origins. But she’s trying to climb up in Oxford society by volunteering at the Orphan, the asylum’s books need to be done before the state inspector shows up in a few weeks, and Birdie is a bookkeeper. Having neatly arranged to keep Birdie in town and draw these two storylines together, Stockett goes on to spin a compulsively readable yarn with enough plot for a half-dozen novels. Birdie and Meg become friends, Meg is adopted despite Garnett’s best efforts, Meg’s mother turns up at the Orphan demanding to know where her child is—and that’s less than a quarter of the way through a long, winding narrative that keeps piling on more dramatic developments until all loose ends are neatly, if hastily, wrapped up in the final pages. Stockett might be making a point about Southern women facing facts and standing up for themselves, but mostly this is just a satisfyingly twisty tale that should make a great miniseries.

Fans of Stockett’s bestselling debut will love this engaging follow-up.

Pub Date: May 5, 2026

ISBN: 9781954118812

Page Count: 656

Publisher: Spiegel & Grau

Review Posted Online: Feb. 2, 2026

Kirkus Reviews Issue: March 1, 2026

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WHISTLER

An evocative and moving tribute to the death-defying, heart-opening, infinitely redemptive power of storytelling.

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A chance meeting in a museum unlocks a long-closed door in a family’s past.

Of a piece with her last three novels—Commonwealth (2016), The Dutch House (2019), and Tom Lake (2023)—Patchett’s latest explores the evolution of families over time, romantic secrets, and step-relationships, again giving these topics the wry and tender treatment that is distinctively hers. As it begins, Daphne Fuller’s attentive husband, Jonathan, notices that a man has been following them through the Metropolitan Museum of Art. At first they chalk it up to the fact that “old guys love [Daphne],” as she told Jonathan decades ago, a notion he has held onto "like a souvenir postcard from another era." But it turns out that, though Daphne doesn’t recognize him, Eddie Triplett is her former stepfather. Like the author herself, as recalled in her 2020 essay “Three Fathers,” Daphne has had three dads. Her biological father, a deep-sea fisherman named Buddy Zabriskie, left the family early; her current stepfather, Lucas Ekker, lives with her mother in retirement in Massachusetts. Ekker is an unprepossessing sort Abby met working as the publicist for his self-help books, Positivity!, Positively Positive!, The Positivity Workbook!, Positive Every Day!, ad infinitum. The man in the museum, Eddie Triplett, was also someone her mother met through her job in publishing, and once Daphne realizes who he is, she remembers that “[their] hearts were forever stitched together.” This is because Daphne and Eddie were in a serious car accident when she was 9 years old, after which her mother immediately divorced him and evicted him from their lives. The details of that accident—among them lies the reason the novel is named after a horse called Whistler—are gradually wheedled out of Daphne by her younger sister, Leda, a clinical psychologist in New York and a reliable source of insight on the narrative’s key issues. “‘You make it sound like I’ve been keeping all this from you, but I’m not,’ [Daphne] said. ‘Who goes through life thinking about what happened when they were nine?’ ‘It’s all people think about,’ Leda said.”

An evocative and moving tribute to the death-defying, heart-opening, infinitely redemptive power of storytelling.

Pub Date: June 2, 2026

ISBN: 9780063511637

Page Count: 304

Publisher: Harper/HarperCollins

Review Posted Online: April 6, 2026

Kirkus Reviews Issue: May 1, 2026

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